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Michael D. Friedman and Alan Dessen

, 1989 – Dir. Jeannette Lambermont Peter Brook’s most memorable choice in his stylisation of the violent action in Titus Andronicus was to employ scarlet ribbons in place of blood, a technique he adapted from Asian theatre. In 1967, Gerald Freedman’s New York Shakespeare Festival production borrowed the same strategy and made the Asian connection explicit by using costumes that ‘“recreated an unknown people of a non-specific time” with elements of “Roman-Byzantine and feudal Japanese”’ (see p. 30 ). Director

in Titus Andronicus
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Stephen Orgel

Hamlet is probably the most famous play in literature, thoroughly international in its appeal, admired and imitated in Asian cultures as well as in the west. Its fame in its own time may be considered a matter of record, though the record has certainly been overstated; and that is a good place to begin. For a reading public, several Shakespeare plays were

in Spectacular Performances
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Shakespeare’s voyage to Greece
Richard Wilson

representational space of waiting. In Antony and Cleopatra , for instance, there is a lightning-flash of ghostly precognition at Alexandria, the perennial gateway between past and future, Europe and Asia, when Octavius proclaims that ‘The time of universal peace is near’ [ 4,6,4 ]. The future emperor Augustus will, however, shortly make this dream of perpetual peace identical with his own imperium, and so it

in Free Will

Ralph Knevet's Supplement of the Faery Queene (1635) is a narrative and allegorical work, which weaves together a complex collection of tales and episodes, featuring knights, ladies, sorcerers, monsters, vertiginous fortresses and deadly battles – a chivalric romp in Spenser's cod medieval style. The poem shadows recent English history, and the major military and political events of the Thirty Years War. But the Supplement is also an ambitiously intertextual poem, weaving together materials from mythic, literary, historical, scientific, theological, and many other kinds of written sources. Its encyclopaedic ambitions combine with Knevet's historical focus to produce an allegorical epic poem of considerable interest and power.

This new edition of Knevet's Supplement, the first scholarly text of the poem ever published, situates it in its literary, historical, biographical, and intellectual contexts. An extensive introduction and copious critical commentary, positioned at the back of the book, will enable students and scholars alike to access Knevet's complicated and enigmatic meanings, structures, and allusions.

The afterlives of Ophelia in Japanese pop culture
Yukari Yoshihara

, Natsume argued that supernatural, mystic and occult elements in literature should be approached from ‘the perspective of the discipline of psychology and sociology’. 10 As Alexa Huang argues in analysing Natsume's Kusamakura , ‘Ophelia is… central to the anxiety of modernity’ in Japan. 11 More broadly, Huang places Asian attitudes to Ophelia in the context of Asia's ‘deeply conflicted love–hate relationships with Western modernity

in Shakespeare and the supernatural
Michael D. Friedman and Alan Dessen

’s staging, which originated in 2004 at the Sai-no-Kuni Saitama Arts Space as the thirteenth entry in Ninagawa’s project to produce all of Shakespeare’s plays. It was revived at the same location in May 2006, then proceeded to Stratford-upon-Avon the following month to become ‘the first Japanese-speaking Shakespearean production to be performed in the Royal Shakespeare Theatre’ (Kawai, 281) as part of Stratford’s Complete Works Festival. This memorable production, which combined Asian and Western stage elements, closed at

in Titus Andronicus
Heads or tales?
Richard Hillman

king in a day, Enforcing nearly all Asia under his sway.] (ed. Prévost, Pro.47–54; trans. Hillman, 2005 ) For Fronton Du Duc, this is background to the emergence of Jeanne d’Arc as the Catholic saviour of France – on the model, explicitly and insistently, of Judith (ll. 47–54, 712–13, 1598

in French origins of English tragedy
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Michael D. Friedman and Alan Dessen

that Brook gained his distinctive effects, which influenced succeeding performances, by making two key decisions: to cut the script heavily and to stylise the play’s violence within a ritualistic framework (see p. 25 ). I would add that this stylisation drew upon techniques from Asian theatre, which reappear as Japanese elements in two of the three productions stemming from Brook’s example: Jeannette Lambermont’s 1989 Stratford, Ontario version, Daniel Mesguich’s production at the Theatre de l’Athénée in the same year

in Titus Andronicus
Antony and Cleopatra, 1677–1931
Carol Chillington Rutter

their own skill, and cry'd A lucky hit Has mended our design . (1.1.405–408) Antony was the man to whom the gods had ‘intrusted Humankind’, putting ‘ Europe, Africk, Asia … in ballance’. But now, all that ‘wonder’ is ‘weigh'd down by one light worthless Woman!’ (lines 370–372). At the end of Act 1, roused by Ventidius's rhetorical whip-cracking, Antony is ‘fir'd’: his ‘Soul's up in Arms’; ‘noble eagerness of fight has seiz

in Antony and Cleopatra
Tales of origins in medieval and early modern France and England
Dominique Goy- Blanquet

was competing with other tales of origin. A rival tradition was setting up the Gauls as the privileged ancestors: being descended from Noah, they were closer to Christianity. In his Illustration de Gaule et singularité de Troie (1511), Jean Lemaire de Belges neatly solved several difficulties by making the Gauls ancestors of the Trojans who had migrated as far as Asia Minor. Thus the Franks

in Interweaving myths in Shakespeare and his contemporaries